Season five, episode nine

Hankies at the ready – is this the most tear-jerking episode of The Wire in all five series? Certainly the ending is as poignant as any i can recall, and sets up the cyclical narrative flourish that transforms Michael into the show's next Omar figure, leaving Dukie to step into Bubbles' battered sneakers as the junkie that will steal your wallet and break your heart.

The conclusion of the Michael-Dukie-Bug storyline is a fitting way to end the show's penultimate episode, and tees up the viewer to perhaps expect a less emotionally distressing final installment. Certainly, David Simon and George Pelecanos threw enough red meat at us in the first 50 minutes to sustain us as we pick through the bones of, for me, the show's most enduring human drama.

Most significantly, we're treated to the sight of Marlo Stanfield and his high command in bracelets, as Freamon's relentless, beligerent policework pays off. That the crew's limp last stand (well, obviously until Levy's greasy palms facilitate a resurrection) takes place in an abandoned, rusted dock warehouse has some nice symmetry with series two.

"My name was on the streets?"– Marlo

Marlo's explosive and chilling outburst in the custody suite reveals just what a simmering, bestial creature he is when stripped of the control he exhibits in marshalling his organisation. Marlo is no capitalist, like the Greek, or pragmatist, like Prop Joe, but a pure, unfiltered product of the streets. The scene brings to mind Marlo's footnote to Joe, right before having him lit up: "I was never made to play the son".

His rage stems from the use of his "name" being used - basically being called a coward by Omar. "My name is my name," he screams, meaning of course that it is more than just a name: it's his reputation, a reputation he serves to underline with the decision to execute Michael, who both he and Chris doubt was BPD's source.

This decision proves to be a fateful one, as Michael shows just how good his training was at the heels of Chris and Snoop by sniffing out the rat before it bites. You can almost read the "Damn, I should have known" look on Snoop's face as she stares down the barrel of Michael's gun, seeing the hunted turn hunter.

With Michael now on the run, his relatively serene yet makeshift family life is blown apart like Snoop's skull and he is left with the prospect of separation from Bug, the young brother he has devoted his life to "saving". The scene outside the Howard County house of his aunt – portrayed as quite an uppity, unforgiving sort – encapsulates Michael's maturity and almost detatched emotional strength. Bug's silent grief mirrors another dramatic scene where a character's silence ratchets up the intesity – when Freamon comes face to face with his nemesis Marlo, picks up his cellphone and exchanges a knowing, extended glare.

But it is the parting between Michael and Dukie that has perhaps the most inevitably tragic consequences. Dukie evokes the memory of when they still felt like children, asking Michael if he remembers the piss balloon caper from the first episode of series 4. He says he can't. But why? Has the trauma of his enforced growing up and becoming a killer really cut adrift any semblance of the carefree and innocent (in many ways) Michael that we were introduced to? Or perhaps he is intentionally avoiding a trip down memory lane for Dukie's own sake, signalling the futility of taking comfort in the past.

Dukie's own future is now unspeakably bleak. Bereft of Michael's protection – and money – and lacking in the amoral fortitude required for a career on the corners, he shuffles off to join the arabbers.

Other notable scenes:

Gone but not forgotten: the legend of Omar grows. Despite Michael's scoffing disbelief, Spider insists that he was gunned down by three Pimlico boys with AK47s and not the toxic little urchin Kenard.

Bubs's bravely vulnerable account of a near-relapse on his anniversary of being clean, with his sister disinclined to be there to support him. In the viewer's eyes, Bubs's redemption is near-complete.

The Sun editors blowing smoke up each other's arses when considering their Pulitzer application. Templeton's bleating "Do you really think this has got a chance for a Pulitzer?" made my skin crawl.

Quote of the week

Dukie: You remember that one day summer past, when we threw them piss-balloons at them terrace boys? You remember; just before school started up again. You know? I took a beat down from them boys. I don't even throw a shadow on that. That was the day ... Y'all bought me ice cream off the truck. You remember, Mike?

Michael (after a long pause): ... I don't.

Running totals

Murders: up one to 81. Snoop is killed by Michael.

McNulty giving a fuck when it's not his turn: no – almost a week off for McNulty. Still 42. Drunk: no. Still 24. Dubious parenting: no. Still eight.

Bunk drunk: no. Still 10.

Herc fuck-ups: no. Still 20.

Omar stick-ups: RIP Omar. Seventeen.

Bubbles attempting to get clean: still doing well on his series-long attempt. Seven.

DOUBLE SPOILER ALERT: This weekly blog is for those who have already seen The Wire in its entirety – and, for one week only, The Sopranos. This week: there could only ever be one winner. Saptarshi Ray comes out swinging